CHAPTER IV.
THE MOTIVES BY WHICH HOGARTH WAS INDUCED TO PUBLISH HIS ANALYSIS OF BEAUTY; THE ABUSE IT DREW UPON HIM, AND HIS VINDICATION OF HIMSELF AND THE VOLUME. HE IS ELECTED A MEMBER OF THE IMPERIAL ACADEMY AT AUGSBURG, AND APPOINTED SERJEANT PAINTER TO THE KING.
Hogarth finding his prints were become sufficiently numerous to form a handsome volume, in the year 1745[50] engraved his own portrait as a frontispiece. In one corner of the plate he introduced a painter's palette, on which was a waving line inscribed "The Line of Beauty." This created much curious speculation, and, as he himself expresses it, "The bait soon took, and no Egyptian hieroglyphic ever amused more than it did for a time. Painters and sculptors came to me to know the meaning of it, being as much puzzled with it as other people, till it came to have some explanation; then, indeed, but not till then, some found it out to be an old acquaintance of theirs,[51] though the account they could give of its properties was very near as satisfactory as that which a day-labourer, who constantly uses the lever, could give of that machine as a mechanical power." "They knew it as Falstaff did Prince Henry—by instinct!"
This crooked line drew upon him a numerous band of opponents, and involved him in so many disputes, that he at length determined to write a book, explain his system, and silence his adversaries. When his intentions were known, those who acknowledged his claim to superiority as an artist were apprehensive that, by thus wandering out of his sphere and commencing author, he would lessen his reputation. Those who ridiculed his system presumed that he would thus overturn it; and the few who envied and hated the man, rejoiced in sure and certain hope that he would write himself into disgrace. All this he laughed at, and in the following little epigram whimsically enough describes his own feelings:—
"What! a book, and by Hogarth! then twenty to ten,
All he's gained by the pencil he'll lose by the pen.
Perhaps it may be so; howe'er, miss or hit,
He will publish,—here goes,—it's double or quit."
Notwithstanding this pleasantry preceding the publication, he frankly acknowledges that the uncharitable spirit with which he was in consequence assailed, and the squabbles it drew him into with those of his own profession, and the dabblers in the arts, gave him greater uneasiness than was balanced by its general success. Thus does he express himself:—
"My preface and introduction to the Analysis contain a general explanation of the circumstances which led me to commence author; but this has not deterred my opponents from loading me with much gross and, I think, unmerited obloquy; it therefore becomes necessary that I should try to defend myself from their aspersions.
"Among many other high crimes and misdemeanours of which I am accused, it is asserted that I have abused the great masters. This is so far from being just, that when the truth is fairly stated it may possibly appear that the professional reputation of these luminaries of the arts is more injured by the wild and enthusiastic admiration of those who denominate themselves their fast friends, than by men who are falsely classed as their enemies.
"Let us put a case: suppose a brilliant landscape had been so finely painted by a first-rate artist, that the trees, water, sky, etc. were boldly though tenderly relieved from each other, and the eye of the spectator might, as it were, travel into the scenery; and suppose this landscape, by the heat of the sun, the ravages of time, or the still more fatal ravages of picture-cleaners, was shorn of its beams and deprived of all its original brightness; let me ask whether the man who will affirm that this almost obliterated, unharmonious, spotty, patchwork piece of antiquity is in the state that it first came out of the artist's hands, does not abuse the painter?[52] and whether he who asserts that though it might once have been bright and clear it is now faded, does not thus place the defects to the proper account, and consequently defend him?
"So far from attempting to lower the ancients, I have always thought, and it is universally admitted, that they knew some fundamental principles in nature which enabled them to produce works that have been the admiration of succeeding ages; but I have not allowed this merit to those leaden-headed imitators, who, having no consciousness of either symmetry or propriety, have attempted to mend nature, and in their truly ideal figures gave similar proportions to a Mercury and a Hercules.
"This, and many other opinions which I have ventured to advance, has roused a nest of hornets from whose stings I would wish to guard myself, as I am conscious that they will try to condemn all my works by my own rules. To disappoint these insects I have, in my explanatory prints, done the Antinous, Venus, etc. in a slighter style than the other figures, to show that they are introduced as mere references to the originals; and I will not now attempt to paint my Goddess of Beauty.[53] Who can tell how long the artist was employed in giving such exquisite grace to the Grecian Venus? he might perhaps think that a single super-excellent statue would confer immortality, and was sufficient for a whole life. Can any one expect to see equal perfection in that which is done in little, and in a short space of time?
"With respect to beauty, though men felt its effects, yet both artists and others appeared to me to be totally ignorant of its principles, and contented themselves with bestowing undistinguishing praise, and giving us cold and servile copies of the fine models of antiquity, without making any inquiry into the system by which they were produced. The few who wished to learn the principles found themselves so bewildered and confounded by the vague and contradictory opinions which they had heard and read concerning beauty and grace, that they began to suspect the whole to be an illusion, and that neither one nor the other existed except in fancy and imagination. This should excite less surprise, from its having sometimes happened in a matter of an infinitely higher and more important nature; and were it politically right, it is possible that a small octavo might be written, which would start as many folios of theological controversy as would fill Westminster Hall, though the whole put together might be mere lumber, and of no more use than waste paper. But this by the by. To return into my own path, and resume the reasons that induced me to tread it in a new character. In doing this, it will be proper to give a succinct statement of the strange way in which this subject has been treated by preceding writers.
"The first attempts that were made to fix true ideas of taste upon a surer basis, were by natural philosophers, who, in their amplified contemplations on the universal beauty displayed in the harmony and order of nature, very soon lost themselves; an event that, from the way in which they set out, was inevitable: for, if I may be permitted to adopt an allegorical figure, it necessarily led them into the wide road of Order and Regularity, which they unexpectedly found crossed and intersected by many other paths that led into the Labyrinths of Variety; where, not having passed through the Province of Painting, they became confused, and could never find their way. To explaining the order and usefulness of nature they might be equal; but of her sportiveness and fancy they were totally ignorant. To extricate themselves from these difficulties, they ascended the Mound of Moral Beauty, contiguous to the open field of Divinity, where, rambling and ranging at large, they lost all remembrance of their former pursuit.
"These gentlemen having failed, it was next suggested that the deeply read and travelled man was the only person fully qualified to undertake the task of analyzing beauty. But here let it be observed, that a few things well seen, and thoroughly understood, are more likely to furnish proper materials for this purpose than the cursory view of all that can be met with in a hasty journey through Europe.
"Nature is simple, plain, and true in all her works; and those who strictly adhere to her laws, and closely attend to her appearances in their infinite varieties, are guarded against any prejudiced bias from truth; while those who have seen many things that they cannot well understand, and read many books which they do not fully comprehend, notwithstanding all their pompous parade of knowledge, are apt to wander about it and about it, perpetually perplexing themselves and their readers with the various opinions of other men.
"The knowledge necessary for writing a work on the arts, differs as much from that acquired by the simple traveller, as the art of simpling doth from the science of botany. Taking the grand tour to see and pick up curiosities, which the travellers are taught nicely to distinguish from each other by certain cramp marks and hard names, may, with no great impropriety, be termed 'going a simpling;' but with this special difference, that your 'field simpler' never picks up a nettle for a marsh-mallow,—a mistake which your 'tour simpler' is very liable to.
"As to those painters who have written treatises on painting, they were in general too much taken up with giving rules for the operative part of the art to enter into physiological disquisitions on the nature of the objects. With respect to myself, I thought I was sufficiently grounded in the principles of my profession to throw some new lights on the subject; and though the pen was to me a new instrument, yet, as the mechanic at his loom may possibly give as satisfactory an account of the materials and composition of the rich brocade he weaves as the smooth-tongued mercer surrounded with all his parade of showy silks, I trusted that I might make myself tolerably understood by those who would take the trouble of examining my book and prints together; for as one who makes use of signs and gestures to convey his meaning in a language of which he has little knowledge, I have occasionally had recourse to my pencil. For this I have been assailed by every profligate scribbler in town, and told that though 'words are man's province,' they are not my province; and that though I have put my name to the Analysis of Beauty, yet (as I acknowledge having received some assistance from two or three friends) I am only the supposed author. By those of my own profession I am treated with still more severity; pestered with caricature drawings, and hung up in effigy in prints; accused of vanity, ignorance, and envy; called a mean and contemptible dauber; represented in the strangest employments, and pictured in the strangest shapes,—sometimes under the hieroglyphical semblance of a satyr, and at others under the still more ingenious one of an ass.[54]
"Not satisfied with this, finding that they could not overturn my system, they endeavoured to wound the peace of my family. This was a cruelty hardly to be forgiven: to say that such malicious attacks and caricatures did not discompose me, would be untrue, for to be held up to public ridicule would discompose any man; but I must at the same time add that they did not much distress me. I knew that those who venture to oppose received opinions must in return have public abuse: so that, feeling I had no right to exemption from the common tribute, and conscious that my book had been generally well received, I consoled myself with the trite observation that every success or advantage in this world must be attended by some sort of a reverse; and that though the worst writers and worst painters have traduced me, by the best I have had more than justice done me. The partiality with which the world has received my works, and the patronage and friendship with which some of the best characters in it have honoured the author, ought to excite my warmest gratitude, and demands my best thanks. It enables me to despise this cloud of insects; for happily, though their buzzing may tease, their stings are not mortal."
That these hard blows of his adversaries were felt, and felt keenly, appears from the whole tenor of his language; but his mortifications were in a degree balanced. The annexed letter, from a man of Warburton's literary fame, was a flattering testimony to his talents, though a gentleman to whom I read it observed, that the Doctor might be as much actuated by a fear of his satire as admiration of his abilities. It enclosed a £10 bank note. By his friend Rouquet he was informed that his book was eagerly expected in Paris, and told in a note from the Vice-Chancellor of Cambridge, that it would have a place in the University library:—
For Mr. Hogarth.
"Dear Sir,—I was pleased to find by the public papers that you have determined to give us your original and masterly thoughts on the great principles of your profession.
"You ow[55] this to your country, for you are both an honour to your profession and a shame to that worthless crew professing vertu[55] and connoisseurship, to whom all that grovel in the splendid poverty of wealth and taste are the miserable bubbles.
"I beg you would give me leave to contribute my mite towards this work, and permit the enclosed to entitle me to a subscription for two copies.
"I am, dear Sir (with a true sense of your superior talents), your very affectionate humble servant,
"W. Warburton.
"P. P., March 28, 1752."
To Mr. Hogarth.
"Dear Sir,—I expected to have been in England about this time, but find myself disappointed by the tediousness of the progress of what I have begun; and business coming in very smartly, I believe I shall stay here some months longer than I proposed at first, therefore shall indulge myself with the pleasure of writing these till I enjoy that of your conversation. I have a thousand observations to impart to you when we meet—some that will please you, some that you will think inaccurate, but all such as will not allow us time to yawn when we see one another. First, I hope you are in perfect health, and the next news I want to hear is, when your book is to be published. I have raised some expectations about it amongst artists and virtuosi here, and hope to have the first that shall come over, that I may boast of your friendship, by being the first usher of a performance which I am sure will make many people wish they were acquainted with you. The humbug virtu is much more out of fashion here than in England. Free-thinking, upon that and other topics, is, if possible, more prevalent here than amongst you. Old paintings and old stories fare much alike. A dark picture is become a damned picture, as the soul of the dealer; and, consequently, modern performances are much encouraged,—and mine amongst them,—for I have met with a reception much beyond what I expected, or they deserved. This circumstance has made Paris more agreeable to me than it would have been without it. I pass my time in it very swiftly, perpetually employed in a great variety of unavoidable business. The days succeed one another with great rapidity. Nevertheless, I think I don't enjoy so good a health as in England, though I was often ill there; but the hurry I have been in this six months, which cannot be described, may be the reason of it. I am afflicted with a continual headache, which I have not been subject to this five-and-twenty years, and which, if it should not abate, will occasion my return before business will well admit. I suppose you have before this time some spring days at Ivy Hall. I shall have no country air this year, but am going to lodge in the most open part of the town, which I hope will do instead, that is, upon the Quay de Conti, next to College Mazarine, where I shall be in three weeks ready to receive the answer that I beg you will favour me with.—I am, Sir, your humble servant,
"Rouquet.
"Paris, March 22, 1753."
To Mr. Hogarth, in Leicester Fields.
"Cambridge, Nov. 28, 1753.
"Sir,—I return you thanks for your book, which came to my hand last night, and for which I will find a place in the University library. I have read it over with pleasure, and have no doubt but that many others will do the same, as there can be no one here to whom Mr. Hogarth's name will not be an inducement to inquire into anything that comes from his hand.—I am, Sir, your most obedient humble servant,
"P. Yonge."
Hogarth presented another copy to the Royal Society; and by several of his books that were sent abroad, he found that, however captiously the work had been treated by some of his own countrymen, it had its admirers on the Continent. From Mr. Reiffsten of Cassel, in consequence of this publication, he received a letter couched in most complimentary terms, inviting him to become a counsellor and member of the Imperial Academy at Augsburg,—an invitation which, by his reply, he appears to have accepted.
An Italian translation of his Analysis was published at Leghorn, dedicated, "All' illustrissime Signora Diana Molineux Dama Inglese." It had been previously done into German by Mr. Mylins, a new edition of whose translation is thus pompously announced by Mr. C. F. Vok, in a written paper I found among Hogarth's manuscripts:—
Advertisement for a New Edition of Mr. Hogarth's "Analysis of Beauty."
"If ever a work met with great applause and deserved still more, it was certainly Mr. Hogarth's Analysis of Beauty. The literary journals and newspapers have amply and handsomely noticed it. The author made the beauty of forms, which was the object of his art, at the same time the subject of his philosophical meditations, and fell at last upon a system which was meant to ascertain in some degree the various conceptions of mankind concerning the agreeable, and to banish from the learned as well as the vulgar the absurd proverb, that men neither can nor ought to dispute about Taste. 'Tis therefore to him we are indebted if the word beautiful, to which people daily fix a thousand different ideas, becomes for the future as much an object of reflection as it has hitherto been of sensation. Yet this work does not contain empty and fruitless speculations, which, when they are not of practical use, justly merit the name of whim and chimera; but its utility is equally extensive with its subject, viz. the beauty of forms, and all arts and sciences that have a relation to it will borrow new light from the performance. The philosopher, the naturalist, the antiquarian, the orator (both in the pulpit and on the stage), the painter, the statuary, the dancing-master, must consider it as a book essentially necessary to them; and not only to them, but also to those persons who are vain of being thought connoisseurs, yet often form such contradictory and inadequate judgment of what relates to the imitation of natural beauty, that they but too plainly betray their want of fixed and determinate ideas. One may venture to affirm that the utility of Mr. Hogarth's system will soon extend itself into the empire of fashion; for even there, where nothing reigned but occasional caprice, now something of certainty may take its place by the assistance of this theory.
"Mr. Mylins when in England translated it into German, under the author's inspection; his translation was printed in London, and contains only twenty-two sheets in quarto, and the two prints, yet was it sold for five dollars."
Mr. Vok proposes taking subscriptions of one dollar for his edition, which is not to be sold under two dollars to non-subscribers. He further promises to annex a short description of Mr. Hogarth's prints, translated from the French, and engages that the work shall be ready in six weeks from the time of his proposals, which he dates from Berlin, 1st July 1754.
Mr. Reiffsten's Letter to Mr. Hogarth.
"Sir,—An universal reputation, and undisputed title to superiority, cannot but draw upon you the importunities of those who are ambitious of an acquaintance with men of genius. Ever since my first perusing the Analysis of Beauty, in which the author is no less to be admired than the artist, I have been on the watch for a favourable opportunity of contributing my share, though ever so small, to the thanks of the public. In that ingenious and elaborate composition you are allowed by all men of taste to have dispelled the mist and cleared the difficulties that had previously attended a problem in painting, of exquisite nicety and the greatest moment. The most eminent masters and most sagacious theorists had travelled in the dark, or wandered through mazes in a fruitless search after beauty. To you alone it was reserved to unravel her windings, reveal her charms to open view, and fix her hidden though genuine excellence.
"At length, sir, the opportunity I had so long coveted seems to offer itself, of course. It is owing to the erection of an Imperial Academy at Augsburg, for the study and improvement of arts and letters. I am commissioned as a deputy from the whole body to interpret their sentiments, and to inform you how highly they value and respect your uncommon talents and capacity. Proud of the acquisition of one no less distinguished in the republic of letters than in the commonwealth of arts, they earnestly desire you would accept the diploma of counsellor and honorary member of their Academy. It is ready to be drawn up, and will not fail being despatched so soon as they are sure of your approbation; which, 'tis hoped, will not be refused by one who has deserved so well of all lovers of taste and genius. But before you take this step it is but natural you should ask in what consists the Academy of which you are solicited to become a member, and whose existence, probably enough, is not so much as suspected in England. To obviate so proper an inquiry, suffer me, sir, to acquaint you in a few words with its origin, constitution, and design.
"About three or four years since, some artists of Augsburg formed themselves into a society, in order to promote and encourage the imitative arts, especially painting and engraving. They applied to the Emperor for protection, which was graciously granted. Soon after they published, at their own expense, a few select pieces; but finding that the polite arts cannot be brought to perfection without the help of literature, and that to excel an artist must be something of a scholar himself, or be assisted by men of learning, they associated those to their body by whom they might be furnished with instructions in writing upon the two above-mentioned branches, and a correspondence both within the empire and abroad properly carried on. Having thus far met with success, they began to extend their views, and endeavoured to fix an institution for teaching methodically the art of drawing or designing—an establishment much wanted here in Germany. This scheme being laid before the Imperial Court, the society obtained an ample charter and considerable privileges. It was incorporated under the denomination of 'an Academy of Arts and Letters,' and the Emperor was pleased to illustrate it with his own name. He conferred the honour of knighthood upon the president, and the title of imperial counsellor on the director, empowering the members to choose those officers themselves; and, moreover, to appoint counsellors and professors to direct the teaching publicly the learned languages and the liberal arts, with several other concessions concerning the printing and publishing of their works.
"To crown their hopes, a common stock was still wanting for the supply of unavoidable expenses, such as salaries to masters and teachers, charges of the press, etc. On this account they had recourse to a tontine,—a kind of lottery, consisting of annuities for life,—which has met with tolerable success, and will produce a capital sufficient to defray all necessary disbursements. But till this end be compassed, the Academy confines itself to the publishing (by means of artist members) plates engraved after the original paintings of the best masters; and by the help of such members as are men of letters, a journal or periodical pamphlet, consisting of memoirs or essays concerning those arts whose foundation is laid in designing. The first part, by way of specimen, is to come out before the close of this year, and it will be regularly continued every month in the next.
"The chief materials are to be compiled by members settled at Rome, Paris, Dresden, Stuttgard, Copenhagen, Cassel, etc.
"How happy should we think ourselves, sir, if, not only suffering your name to be joined in our lists to those of Mengs, Lelio, Meilens, De Marcii, Wille Schmid, Preissler, etc., you would, like those artists, assist us with your pen, and give us a sketch of the present improved state of the imitative arts in Great Britain! What can be conceived more conducive to form and refine our taste, elevate our ideas, and kindle our emulation, than to be informed by yourself, with your manner of operating in those unparalleled originals, whose striking beauties and glowing expressions we closely study in the printed copies; and to be favoured at least with some hints of those pieces we still expect from your warm and masterly pencil?
"But I have too much reason to apprehend that, for a first letter, this will appear tedious; a favourable answer I shall look upon as a permission to explain myself more at large. In hopes of receiving it, I remain, with the highest esteem and regard, Sir, etc. etc. etc.
"I. F. Reiffsten.
"Cassel, March 25th, 1757.
"My address is, Governor of the Payes."
Mr. Hogarth's Answer.
"Sir,—On the receipt of your polite letter, dated Cassel, March 25th, I was most agreeably surprised, nor could I help being much elated, at finding the very handsome invitation therein given to me to become a member of so worthy and respectable a corporation as the Imperial Society of Augsburg; on which account let me request it as a favour that you will be so good as to pay my proper compliments to the gentlemen belonging to it, and at the same time assure them that I with eagerness accept the honour they are pleased to confer upon me, and that they may depend upon my best endeavours to merit their good opinion, by strictly obeying to the utmost of my power such commands as they may think fit to honour me with, tending to the advancement of the laudable design they wisely began, and have since so successfully carried on.
"With respect to the kind opinion you are pleased to entertain of me and my performances, I sincerely return you thanks. And believe me, Sir, the above valuable mark of distinction, which must always tend greatly to my reputation, is still the more grateful to me, as it may occasionally be the means of my corresponding with you,—a happiness much to be coveted by, Sir, etc. etc.,
"Wm. Hogarth.
"London, April 18, 1757.
"A Monsieur Reiffsten."
In addition to the high and sounding title of Counsellor and Honorary Member of the Imperial Academy at Augsburg, conferred upon Hogarth in the German diploma, he was, on the 6th of June 1757, still further dignified by being appointed Serjeant Painter to the King of Great Britain, and entered on the duties of his office on the 16th of the following July. On the demise of George the Second, his post necessarily became vacant; his present Majesty's warrant for reinstating him is in my possession. I have annexed a copy, which shows that the salary was ten pounds per annum, payable quarterly. In one of his manuscripts I find the following memorandum of the interest by which he obtained the place, and its annual profits:—
"Having, just after my brother's death, obtained, by means of my friend Mr. Manning and the Duke of Devonshire, which might not have exceeded one hundred a year to me for trouble and attendance; but by two portraits at more than eighty pounds each, the last occasioned by his present Majesty's accession, and some other things, it has for these last five years been, one way or other, worth two hundred pounds per annum."
Who these portraits were, or for whom they were painted, I know not. By his manner of expressing himself, I should suppose that they were royal, and, as is customary, presented to some of the ambassadors, in which case they were probably sent to the Continent.
"George R.
"Whereas the King, our late royal grandfather, of glorious and happy memory, by his letters patent, under his Great Seal of Great Britain, and bearing date the sixth day of June, in the thirtieth year of his reign, did grant unto William Hogarth, Esq., the office of Serjeant Painter of all his said late Majesty's works, as well belonging to his royal palaces or houses as to his great wardrobe, or otherwise to hold the said office to the said William Hogarth during his said late Majesty's pleasure: And by the force of a statute made in the sixth year of the reign of Queen Anne, the said William Hogarth did continue in the said office for the space of six months, computed next after the demise of his said late Majesty, and he the said William Hogarth still continues therein, by or under our royal proclamation, in such behalf issued: And whereas our gracious intentions are to re-grant the said office to the said William Hogarth, our will and pleasure is, that you forthwith prepare a Bill for our royal signature, to pass our Great Seal of Great Britain, to revoke and determine the said recited letters patent of our said late royal grandfather, and to remove and discharge the said William Hogarth from the office whereunto he was thereby appointed; and to contain our grant unto our trusty and well-beloved, the said William Hogarth, of the office of Serjeant Painter of all our works, as well belonging to all our royal palaces or houses as to our great wardrobe, or otherwise, to hold and exercise and enjoy the said office to the said William Hogarth, during our pleasure by himself, or his sufficient deputy or deputies, together with the yearly fee or salary of ten pounds, payable at the receipt of our Exchequer, out of any of our revenues there applicable to the uses of our civil government, unto the said William Hogarth, for the exercise and execution of the said office, and to commence from the time to which he was last paid thereupon, by virtue of or under the letters patent before recited, and to be computed payable and paid from such the commencement thereof by the day, or for the quarter, as the case may require, to and for the then next ensuing usual quarterly day of payment in the year; and from thenceforth quarterly, at the four most usual quarterly days of payment in the year, by even and equal portions during his continuance in the said office; and together with all other fees, liveries, profits, commodities, and advantages to the said office belonging, or in any wise appertaining, and in as full, ample, and beneficial manner and form to all intents and purposes as he the said William Hogarth held, exercised, and enjoyed, or might have held, exercised, and enjoyed in the said office, by virtue of or under the said recited letters patent of our said royal grandfather; and you are to insert in the said Bill all such apt clauses, directions, authorities, and powers as were contained in the said former grant of the said office, and such others as you shall think necessary for our service, and for making our grant hereby intended to the said William Hogarth most firm, valid, and effectual; and for so doing this shall be your warrant.
"Given at our Court at St. James's, the 30th day of October 1761, in the second year of our reign.
"By his Majesty's command,
"Holles Newcastle.
"North.
"James Oswald.
"To our Attorney or Solicitor General.
"William Hogarth, Esq., Serjeant Painter of his Majesty's Works.—Office renewed."
The following oracular prediction I found among his papers, in the handwriting of his friend Townley:—
"From an old Greek Fragment.
"There was an ancient oracle delivered at Delphos which says that the source of beauty should never again be rightly discovered till a person should arise whose name was perfectly included in the name of Pythagoras; which person should again restore the ancient principle on which all beauty is founded.
| " Πυθάγορας | Pythagoras. |
| " Ὄγαρϑ | Hogarth." |
THE VASE.
"Is man no more than this? consider him well."—Shakspeare.
THE VASE.
As Dr. Townley, in the foregoing mythological fragment, chooses to suppose that in the Greek particles which compounded the name of Pythagoras were to be found the letters Hogarth; Hogarth, with a whimsicality somewhat similar, sported an opinion that the first man who made a well-formed vase took another man for his model. In page 78 of his Analysis, he remarks "that the exact cross of two equal lines cutting each other in the middle, as fig. 69, would confine the figure of a man drawn conformably to them, to the disagreeable character of his being as broad as he is long. And the two lines crossing each other, to make the height and breadth of a figure, will want variety a contrary way, by one line being very short in proportion to the other, and are therefore also incapable of producing a figure of tolerable variety. To prove this, it will be very easy for the reader to make the experiment by drawing a figure or two (though ever so imperfectly), confined within these limits.
"There is a medium between these, proper for every character, which the eye will easily and accurately determine.
"Thus, if the lines, fig. 70, were to be the measure of the extreme length or breadth, set out either for the figure of a man or a vase, the eye soon sees the longest of these is not quite sufficiently so in proportion to the other for a genteel man, and yet it would make a vase too taper to be elegant; no rule or compasses would decide this matter either so quickly or so precisely as a good eye."
I apprehend that Hogarth intended to have introduced this vase into the second print of his Analysis, but found he had not room; for, on the same piece of paper with the drawing, he thus continues the subject:
"We cannot wonder that many writers should have imagined that the different orders of architecture have been taken from the human form, since both are governed by the same principles of fitness, strength, and beauty.[56] The general opinion that the Corinthian capital was taken from a basket and dock leaves, may be supported on the same grounds."
This leads him to one of his favourite ideas, a new order of architecture.
HINTS FOR A NEW CAPITAL.
DESIGNS FOR CAPITALS.
Three of the examples are selected from the most grotesque and ridiculous objects; the other two from flowers; and the Bohemian feathers seem slight essays to prove what he frequently advanced, that though he considered the ancient orders with reverence, yet being the productions of men, men might without heresy venture to vary from them. He remarks: "That churches, palaces, prisons, common houses, and summer houses might be built more in distinct characters than they are, by contriving orders suitable to each; whereas, were a modern architect to build a palace in Lapland or the West Indies, Palladio must be his guide, nor would he dare to stir a step without his book."
"This architects peremptorily assert is the only rule, nor dare they deviate from the established orders. Should you press them hard for a reason, they will tell you no man has yet been able to equal what has been already done; which though I admit, yet have I ventured to assert, and now repeat, that the most beautiful order in the architecture of the ancients will perfectly agree with the rules of composition laid down in the Analysis, and that new orders, adapted to various purposes, may be still invented. I cannot help thinking it is possible that a man who understood drawing, though he had never seen a column, might, by applying the straight and waving line, and correcting simplicity by variety, produce one with equal beauty to any of them.
"In architecture, after FITNESS hath been strictly and geometrically complied with, all the additional members or parts may, by attention to the proper rules of composition, be continually varied and yet be pleasing. For example, if the capitals composed of the confined shapes of hats and wigs can be rendered tolerable, what might not be done by selecting the elegant varieties which are displayed in feathers, flowers, shells, etc.?"[57]
ROUND AND SQUARE HEADS.
SQUARE & ROUND HEADS.
The five heads in the annexed plate are copied from sketches in my possession, and all of them seem to have been intended for the illustration of his Analysis, in which he remarks, that "the particular expressions of a face or movement of a feature which becomes one person shall be disagreeable in another, just as such expressions or turns happen to fall in with the lines of beauty or the reverse; for this reason there are pretty frowns and disagreeable smiles: the lines that form a pleasing smile about the corners of the mouth have gentle windings, as fig. 1,[58] but lose their beauty in the full laugh; the expression of excessive laughter, oftener than any other, gives a sensible face a silly or disagreeable look, as it is apt to form regular plain lines about the mouth (like a parenthesis), which sometimes appear like crying."
"In what we call plain lines there is this constant and remarkable effect, that as they are more or less conspicuous in any kind of character or expression in the face, they bring along with them certain degrees of a foolish or a ridiculous aspect. The inimitable Butler knew this, and describes the beard of Hudibras, fig. 2:
'In cut and dye so like a tile,
A sudden view it would beguile.'
"To set this in an outréd light, see fig. 4,[59] a face almost as square as a die; and fig. 5, as truly round as a globe. The effect of the latter is rather ridiculous than ugly. Sir Plume's empty look, described in the 'Rape of the Lock,' would not be near so vacant without the idea of roundness:
'With round unthinking face.'
"The dialogue between Cleopatra and the Messenger, relative to the person of Octavia, proves that Shakspeare, who seems to have seen through all nature, saw this in the same light."[60]
To No. 3 he thus alludes in his Analysis, p. 128, but has not engraved it in his explanatory plate, though it would certainly have been a better example than his old man's head, fig. 98:—
"Human nature can hardly be represented more debased than in the character of the Silenus, where the bulging line runs through all the features of the face, as well as the other parts of this swinish body; whereas, in the satyr of the wood, though the ancients have joined the brute with the man, we still see preserved an elegant display of serpentine lines that renders it graceful." His manuscript continues:—
"The fine airs and graceful turns and windings of such a head were produced by adhering to this line; and it was this Mr. Pope conceived of Raphael and Guido in his epistle to Mr. Jarvis, the king's painter, or he meant nothing:
'Each heavenly piece unwearied we compare,
Match Raphael's grace with thy loved Guido's air,
Carracci's strength, Correggio's softer line,
Paulo's free stroke,' etc.
"We must not seek for examples in any of the works Mr. Pope recommends, for whatever was painted by his friends had his unqualified praise.[61] He would have said the same of Mr. Kent. Poets are the fountains of flattery, as kings are the fountains of honour. The former can with as much ease make one man an inspired painter, as the latter can create another right honourable, without either of the parties producing their credentials."[62]
HERCULES, HENRY VIII., AND A FRENCH DANCING-MASTER.
HERCULES, HENRY 8TH & A FRENCH DANCING MASTER.
In Hogarth's manuscript of the Analysis, facing the chapter on Fitness, I found a red-chalk sketch of these three figures, which (with slight variations) he has introduced in his illustrative prints. They are copied as an example of the manner in which he sketched his first thoughts: they seem placed together to contrast the easy and natural turn of the Hercules with the stiff and artificial attitudes assumed by the other two figures, in both of which uniformity is the leading principle. Relative to this, Hogarth, in p. 20 of the Analysis, puts the following query:—
"If uniform objects were agreeable, why is there such care taken to contrast and vary all the limbs of a statue? Were the eye pleased with uniformity, the picture of Henry VIII. would be preferable to the finely contrasted figures of Guido and Correggio; and the Antinous' easy sway must submit to the stiff and straight figure of the dancing-master.
"The 'Hercules' by Glycon (fig. 1) hath all its parts finely fitted for purposes of the utmost strength that the texture of the human form will bear. The back, breast, and shoulders have huge bones, and muscles adequate to the supposed active strength of its upper parts; but as less strength was required for the lower parts, the judicious sculptor, contrary to all modern rule of enlarging every part in proportion, lessened the size of the muscles gradually down towards the feet, and for the same reason made the neck larger in circumference than any part of the head; otherwise the figure would have been burdened with an unnecessary weight, which would have been a drawback from his strength, and, in consequence of that, from his characteristic beauty. These seeming faults, which show the superior anatomical knowledge as well as judgment of the ancients, are not to be found in the leaden imitations near Hyde Park."
The bluff and boisterous Henry VIII. is described in the same volume as forming a complete X with his legs and arms; and the pert and prim dancing-master is so accomplished a person, that were he to see his scholar in the easy and gracefully-turned attitude of the Antinous, he would cry shame! tell him he looked as crooked as a ram's horn, and bid him hold up his head, as he himself did. This figure is said to be intended for Essex the dancing-master.
The very different position in which these three strongly contrasted characters place their legs and feet is worthy of observation.
CHARLES I., ITALIAN JUPITER, ETC.
I. CHARLES I. II. HENRIETTA MARIA. III. GROTESQUE ORNAMENT. IV. ITALIAN JUPITER.
These figures, as well as the preceding, are copied from sketches in the MS. of the Analysis; the Italian Jove, grasping a thunderbolt, is intended for Monsieur Desnoyer dancing in a grand ballet. A reduced copy of the figure is in the first plate to the Analysis, placed as a companion to Quin in the character of Brutus; and it must be acknowledged that the English actor, in a wig which Gorgon's self might own, is as fair a representative of a Roman general as the dancer is of a deity.
The figures 1 and 2 are from Vandyke's portraits of Charles I. and Henrietta Maria. The former is copied from one of that great painter's portraits, and almost wholly made up of straight lines; the latter, though drawn with an easy and elegant air, Hogarth considers as not composed on the principle of the waving line, which he says Vandyke seems never to have thought of. Thus does he characterize that artist in the page that faced the sketches:—
"Rubens knew the waving line, but his contours are rather overcharged. Vandyke, his scholar, perhaps for fear of running into what he might think gross in his master's manner, imitated nature just as it chanced to present itself; and having an exact eye, produced portraits which abound with delicacy and simplicity; but when nature flagged he was tame, not knowing that principle which might have raised his ideas. His best works are, however, marked with grace."
No. 3 is intended to represent one of those clumsy, grotesque ornaments with which our cathedrals abound, where a winged figure, perched in the niche of an arch behind a shield, seems intended as a guardian angel to the dust of the deceased hero, whose armorial bearing is sometimes displayed in the front.
The last engraving which I have taken from the manuscript of the Analysis, makes an easy and elegant form; and I have ventured to introduce it in the [title-page] to this volume. The original drawing is on the same leaf with two sketches of an ill-shaped candlestick and torch thistle (Nos. 40 and 42), in the first plate to the Analysis. I think it may be denominated "The Dolphin Candlestick," as it is composed of dolphins and snakes, so twisted as to combine his favourite serpentine line, and crowned with the iris and lily. In his MS., after remarking that "our furniture and utensils are generally as tasteless and inelegant as straight and unvaried lines can make them,"—and producing as examples the ill-shaped candlesticks, etc., which are engraved in his first plate,—he concludes by observing, "It is said in vindication of such forms, that they are adhered to for the sake of simplicity; but this might be preserved, and yet some portion of beauty introduced, did they combine their little variations by the proper rules."
"Let the 'Dolphin Candlestick,' composed of serpentine lines varying with each other, be compared with No. 40, plate I, which is made up of plain unvaried parts, and it will show, in a much clearer view than can be expressed by words, the necessity of variety to constitute beauty.
"Nature gives us a few examples of tasteless forms in the torch thistle, and some other ill-shaped exotics to be found in green-houses, which form a striking contrast to such flowers as the Chalcedonian iris and lily, whose enchanting beauty proceeds from their variety—these two flowers united form a nozzle to the candlestick above alluded to."
Notwithstanding Hogarth's perpetual reference to the line of grace and analysis of the line of beauty, he has been generally said to be totally incapable of imparting either one or the other to his figures. Mr. Nichols, in his Anecdotes, insists on his notorious deficiency in what is styled "the graceful," and in page 48 quotes Mr. Garrick's opinion to corroborate his own. The writer of the North Briton, No. 17, boldly asserts that he never caught a single idea of beauty, grace, or elegance. Mr. Walpole, who is generally candid and liberal in his praise, declares him totally devoid of the principle, and, quoting the first plate of his Analysis as an example, concludes the sentence by remarking, that "the two figures of a young lord and lady, which are added as samples of grace," are strikingly stiff and affected. I do not know that the artist intended them to be otherwise; he has not referred to them as models in his book, and, it is but fair to think, meant them as leading figures, less outré in their forms, but nearly as affected in their graces, as the other dancers. His object seems to be, exemplifying grace by what it is not rather than by what it is. Whatever were his motives for thus amplifying awkwardness in the Wandsworth assembly,[63] the annexed design, which may be considered as its contrast, he has either composed on a different principle, or, by a most happy and singular accident, grouped some very easy and elegant forms with much taste.
THE DANCE
THE DANCE.
Was designed and engraved in the year 1723 for the first volume of De la Mottraye's Travels. In p. 159, this tedious writer tells us, in some very ill-arranged sentences, that the Greek women in the isle of Scio, where the scene is laid, have a striking pre-eminence over those of any other island in the Archipelago for beauty as well as gaiety, and, some say, likewise for complaisance. They verify the proverb, "Merry as a Greek," dance every Sunday or holiday in the open air, and in ring, as represented in the print; and on such occasions wine is not spared.[64] He describes fig. 1 as a chief woman of Smyrna, and fig. 7 as her daughter; fig. 4 as a Greek woman of Constantinople, and fig. 3 as a country girl of Scio, in a habit peculiar to that place.
From these slender materials the artist made his design in a style which proves (notwithstanding the total deficiency of taste alleged by his biographers), that at this early period of his life he had the power of delineating figures with some portion of grace.
It may possibly be asked, why examples of this do not more frequently occur in his other works? To which I can only answer, that his scenes were almost invariably laid in his own country, where he painted objects as he saw them; and whatever grace the Grecian habit might give to the beauties of Scio, the Germanic garb, in which the beauties of Britain then disguised themselves,
"Chastely conceal'd each charm from every eye."
Mr. Benjamin Wilson the painter, in the letter that follows, puts a query concerning a disputed point in perspective, which was adopted by Hogarth, in support of his friend Kirby, who, in the epistle that succeeds it, after returning his acknowledgments for the drawing that Sullivan engraved for his book, requests the author of the Analysis to give him some supplementary support in his doctrine of parallel columns, etc., for the volume he was then printing on perspective. This Hogarth did not then comply with; but when Mr. Highmore, a short time afterwards, attacked the system and its author in the preface of a pamphlet, Hogarth, in support of both, and to ridicule the erroneous principles of his opponent, wrote Kirby some whimsical strictures, which have been already published in the Graphic Illustrations. As they are immediately connected with the letter which is subjoined, I have inserted them in a note, and added such extracts from Highmore's and Kirby's prefaces as may elucidate the subject in debate, and enable the reader to draw his own conclusions:—
To Wm. Hogarth, Esq., Chiswick.
"Dear Sir,—When you come to town, I shall be very glad to show you further advantages which I have gathered from your excellent Analysis. I assure you I think myself greatly indebted to you, and know of no method to repay you, but to acknowledge it as I improve, that the world may have one instance of your invariable principles being true. An odd appearance was mentioned to me lately, which it seems is a fact. A parallelogram, viewed obliquely at a given distance, forms a different representation when seen through a telescope than it does when viewed with the naked eye. In the one case the remote end of the parallelogram appears larger than the near end, whilst in the other case it appears smaller than the near end.
"Q. Do your disputants (in relation to the columns) suppose a given point? If so, they will not regard the eye as you do. Excuse haste.—I am, Sir, etc.,
"B. Wilson."
For Mr. Hogarth.
"Ipswich, May 3d, 1753.
"Dear Sir,—Ever since I received the favour of your drawing, I have been in expectation of having my Preface printed, but have been continually disappointed, which was the reason of my not returning you my most hearty thanks for the above favour long before this time, and therefore I hope your goodness will excuse it.
"The design which you have favoured me with is the best that can be thought of for its intended purpose, as it tends to recommend the study of perspective by exposing the mistakes of those artists who are ignorant of it in such a striking manner as is peculiar to the genius of Mr. Hogarth. I intend to have it engraved by Mr. Sullivan, and shall send it to him as soon as I know how to direct to him, unless any other person is more agreeable to you for that purpose.
"I have enclosed my Preface for your inspection, and one page of the work itself as a specimen of the paper and letter, and shall be glad if they please you. My intention in the three last paragraphs[65] will be obvious at first sight, and I hope you will not think them unnecessary.
"But, good sir, give me leave to ask you (for you have given me much assurance by your friendship, and particularly by your promise), have you thought any more of what we have so often discoursed upon in relation to parallel columns, etc.? I am more and more convinced of the justness of your reasoning upon that subject, and shall think myself prodigiously honoured if you annex something of that kind to my work; for then I shall have you both in my front and rear, and shall not be afraid even of the d—l himself when I am so guarded. If the little witlings despise the study of perspective, I'll give 'em a thrust with my frontispiece which they cannot parry; and if there be any that are too tenacious of mathematical rules, I'll give them a cross-buttock with the 'Dissertations,' and crush them into as ill-shaped figures as those they would draw by adhering too strictly to the rules of perspective.
"I have nothing more to add but my humble thanks for all your favours; and I shall be glad to know if you intend doing anything as you proposed. And am, with compliments to Lady Thornhill, Mrs. Hogarth, etc., your most obliged and obedient humble servant,
"Jos. Kirby.
"P.S.—I cannot fix the time when my work will be published, but it is printing with the utmost expedition."
For another of Mr. Kirby's publications Hogarth designed a frontispiece, which was engraved by Mr. Woollet, and is prefixed to "The Perspective of Architecture, deduced from the principles of Doctor Brook Taylor, begun by order of his present Majesty when Prince of Wales." I have annexed a copy.
FRONTISPIECE TO THE PERSPECTIVE OF ARCHITECTURE.
FRONTISPIECE TO THE PERSPECTIVE OF ARCHITECTURE.
It is thus explained by Mr. Malton in the appendix to his Treatise on Perspective:—
"Here is a curious frontispiece, designed by Mr. Hogarth, but not in the same ludicrous style as the former (i.e. the frontispiece to Kirby's Perspective): it were to be wished that he had explained its meaning; for, being symbolical, the meaning of it is not so obvious as the other (that on false perspective). To me it conveys the idea which Milton so poetically describes of the angel Uriel gliding down to Paradise on a sunbeam; but the young gentleman has dropped off before he had arrived at his journey's end, with Palladio's book of architecture on his knees. A ray of light from the sun, rising over a distant mountain, is directed to a scroll on the ground on which are two or three scraps of perspective, over which, supported by a large block of stone, is the upper part of a sceptre broke off; the shaft, very obliquely and absurdly inclined, somewhat resembling the Roman fasces, and girt above with the Prince of Wales' coronet as an astragal, through which the fasces rise and swell into a crown adorned with embroidered stars; this is the principal object, but most vilely drawn. The ray passes through a round temple at a considerable distance, which is also falsely represented, the curves being, for the distance, too round, and consequently the diminution of the columns is too great. It appears to pass over a piece of water: on this side the ground is fertile and luxuriant with vegetation, abounding with trees and shrubs; on the other side it is rocky and barren. What is indicated by this seems to be, that where the arts are encouraged by the rays of royal favour, they will thrive and flourish; but where they are neglected, and do not find encouragement, they will droop and languish."[66]
On the ray from the sun rising over a distant mountain, etc., so facetiously treated by Mr. Malton, some light is thrown in a manuscript chapter of the Analysis, where Hogarth, describing painters' colours, remarks that—
"Sir Isaac Newton's theory of light and colours, though excellent in itself, is an inquiry of so different a nature from ours, that were we to take this great philosopher as our guide, he would not assist but mislead us, as he did Dr. Brook Taylor, the ingenious author of the best book on perspective that ever was written. The Doctor printed an appendix to this work, which he entitled, A New Theory for Mixing Colours, taken from Sir Isaac Newton's optics; but his project, though ingenious in speculation, is altogether impracticable in painting."
This observation Hogarth follows by the annexed remarks on those visionaries who had puzzled the doctrine of colours with minute and unnecessary divisions, and adopted a strange notion that these divisions were governed by the same laws as music:—
"Both Albert Durer and Lomazzo, who wrote on painting, had this conceit; and so much was Père Castle, a French theoretical doctor, impressed with the idea, that with infinite pains and trouble he contrived a harpsichord to play harmonious composition of colours! On this he wrote a book, and built a system in which prism colours were his notes; these the keys of his instrument were to produce at pleasure. But surely he could not have been drawn into such an absurdity without having first persuaded himself that colours and sounds were of the same nature, and that the like disposition of them both would answer the same purpose, i.e. that a jig in notes would be a jig in colours.[67] I should not be much surprised if some native of that nation of taste contrived an instrument for cookery on a similar plan.[68] This would without doubt be adopted in England, where it must unquestionably have great encouragement. How pleasant would it be to mark Monsieur de Quisiney at his harpsichord, composing a grand festino for the entertainment of foreign ministers; and would the inventor compose a banquet for an installation, or a feast for a Lord Mayor's day, it would ensure him the hearts of both courtiers and citizens. What delight would it afford to a certain eminent composer to see his two favourite sciences thus united![69]
"The fact is, that though compositions of music and colours may illustrate each other in their principles, they very essentially differ in their effects. The notes on a scale in music will range similar to the colours in a rainbow, or to those separated by the prism, but their operations are precisely opposite.
"For example, let all the keys of an harpsichord be pressed down at one stroke, and the ear will be offended with harsh, jarring, and confused sounds; but if you run your fingers along them in succession, it produces a sort of harmony. In colours it is directly the reverse; for though the varied hues of the rainbow strike the eye agreeably at first sight, yet were flickering colours to follow each other in quick succession, the optic nerve would suffer pain in proportion as the tints were more or less vivid, and played in quick or slow time."
These observations are followed by some hints on easy deportment, and succeeded by the following desultory thoughts, which in his manuscript Hogarth entitles "A Supplementary Chapter on Dress:"—
"Dress is so copious a topic, that it would afford sufficient matter for a large volume. The amazing force and folly of fashion is placed in a most ridiculous point of view in an old book called the Artificial Changeling, where the author not only describes the uncouth, wild, and extravagant mode of clothing the body in different ages and countries, but also states many detestable and barbarous customs of whole nations, who mould and torture the human frame to destroy its original form. Some of the customs that he enumerates are, I believe, still practised, particularly in China, where the feet of the females are bandaged to prevent their growing; and among the Hottentots, where, to improve their children's faces, they break the gristles of their noses. Such is the force of habit, that the eye is soon reconciled, and these horrid disproportions and deformities are considered as beauties.
"In this country, fancy and the love of change, to which we may sometimes add public and private interest, have generally given the lead to fashion; nor is it to be objected to,—sumptuary laws are not consonant to the spirit of a free people. In dress nothing need be restrained except the folly (I had almost said wickedness) of changing the form or colour of nature.[70]
"As to the fashion of men's dresses, if they are not rendered inconvenient, it is of little consequence: the tailors may contrive them as they will.[71] But for the sex to whom nature has been so bountiful to disguise their enchanting forms, and sacrifice ease, elegance, and grace on the shrine of fashion, is defying symmetry and thwarting nature, which, in their capricious variations, they should sometimes suffer to take fancy by the hand. The principles laid down for sculpture, etc., will apply to dress; and fitness, propriety, and convenience being first established, it should be rendered pleasing. Attention to a few plain and simple rules would be conducive to its being made so.
"For a degree of uniformity there is a necessity, as without it our habits would be neither commodious nor comfortable; but when uniformity can be corrected by taste, or rendered less obtrusive by slight variations, the appearance will be more graceful and becoming. Thus, feathers, jewels, and flowers should usually be worn on one side of the head.
"Painters describe this disposition of ornament, etc. by the word picturesque, and have contrived what they call a fancy dress. This is wholly at their own disposal, and they profess to combine in it all the principles of beauty. But, unhappily, should their figures walk across the room, these fantastic garments would drop from their shoulders. Were they contrived with a little attention to common sense, they might have their uses. Such a succedaneum would not only keep their works out of the reach of ill-natured critics, by covering false anatomy, etc., but give an artist such latitude for light and shadow as might enable him to shine in the grand historical style; though in painting the manners of the present day, where dress forms a part of the character, he might be totally at a loss. On the same ground that I think it more difficult to delineate scenes built on real life than to display such as originate in fiction, I believe it an easier task to write tragedy than comedy: I mean true comedy, not a Dutch droll. Dress is in some cases an index to the mind, and characters in improper habits would destroy the illusion at the best performed play.
"Simplicity, little as it is attended to, is the most attractive principle of beauty. By this I mean that the habit should not be divided into too many parts, like an old-fashioned furbelowed and flounced petticoat: this preposterous mode confounds the eye, and gives an idea of rags and tatters. The plain unadorned dress of a country girl is often more engaging than the richest court habit, in which beauty is frequently obscured, overwhelmed, and buried by gaudy and heavy ornaments that totally destroy the effect they are intended to produce. Yet here, as in composition, simplicity must be corrected by intricacy, to prevent its degenerating into meanness. Parts of every dress should be loose, and at liberty to play into folds, some of which will move with the figure; nay, it sometimes produces grace to contrive things to rest in winding forms, as is demonstrated by the figure of a sphinx.
"Quantity, as I have before remarked, adds dignity; robes of state are always made large and full; the long sweeping trains of queens have a majestic effect. To attain this, the ladies endure great fatigue, and encumber themselves with an enormous hoop petticoat, as much as they would by carrying a pair of panniers on their hips. While they preserve the figure of the pyramid, this produces some degree of dignity, but excess renders it ridiculous.
"The horse-grenadier, mounted, caparisoned with his sword and other accoutrements, gives a good example of the noble effect of quantity, so combined as to come within pyramidal lines. What a contrast would it produce, to see the little jockey fitted, trimmed, and pared down for a race, riding by the side of him!"
Hogarth concludes with a remark, which intimates that he had originally intended to have inserted the preceding chapter in his Analysis, but altered his plan and reserved it for his intended Supplement:—
"The even and uniform colour of the hair, by encompassing the face as a frame doth a picture, contrasts with harmonious colour its variegated and enclosed composition, and adds more or less beauty thereto, according to the manner it is disposed. This graceful ornament may, with some propriety, be called the head-dress, and comes under that class; but as dress in general is a matter of no small importance to a great part of the world, it deserves to be treated more copiously than this volume will admit of. It shall therefore be deferred till a more convenient opportunity offers, when the Supplement shall be published."
